I am thrilled that only one copy of the Aromérica Parfumeur book (created during my Smack Mellon residency) remains. May 31st is the last day to pre-order the 2nd edition.
If you are in Montreal this June, come by Concordia University where I will be participating in the Global Asia/Pacific Art Exchange 2019 Asian Indigenous Relations in Contemporary Art conference and will be speaking on June 13th in dialogue with artist Kari Noe and Austin Henderson. I will be part of the Waterways: Asian Indigenous Relations in Contemporary Art exhibition.
Back in New York, stop by SVA for my Lunchtime Lecture on June 18th. The following day, June 19th (Juneteenth), I will be at American Folk Art Museum in dialogue with artist Nona Faustine and Professor Jack Tchen on the subject of Expanding Perspectives: Our New York Histories.
Thank you for your ongoing support!
In 2021, it will be exactly 400 years ago since the VOC conquered almost all of the Banda Islands and killed and expelled the original inhabitants. The aim of the working group “Banda 2021” is to make sure that this important year will be marked by commemorative events in the Netherlands and on the Banda Islands, that will do justice to Bandanese perspectives on the events, increase historical knowledge among the Dutch population, and highlight the global significance of the Banda conquest. The working group brings together scholars, artists, and societal partners from the Netherlands, Indonesia and the United States.
The conquest of the Banda Islands constitutes one of the most violent moments in Dutch colonial history. Conquering a monopoly on the valuable trade in nutmeg and mace with the Banda Islands was a principal aim of the Dutch East India Company (VOC). Under VOC Governor General Jan Pieterszoon Coen, the attempts at conquest reached genocidal proportions. Almost the entire population, which had numbered 15,000 at the start of the seventeenth century, was killed by VOC soldiers, died through deprivation as a cause of military actions, or was actively expelled. The tipping point in the violence occurred on 8 May 1621, when Coen ordered the execution of 44 Bandanese chiefs or Orang Kaya after a spurious trial.
Coen’s actions on Banda had global ramifications. After systematically depopulating almost all of the islands, the VOC brought in enslaved people from various parts of Asia and East-Africa, including a small part of the previously expelled Bandanese. The Banda Islands served as a precedent for later Atlantic conquests of the Dutch West India Company (WIC), founded in the same year. The act of expulsion of the indigenous population connects the Banda Islands to other areas affected by Dutch colonialism in the same period, especially the region around present day New York. Here, the Dutch systematically pushed out the indigenous Lenape tribe to establish its own settlement New Amsterdam. In 1667, the Dutch sealed their conquest of the Banda archipelago by trading the small island Run and Suriname for the North-American colony New Netherland in the Treaty of Breda that ended the Second Anglo Dutch War.
Connecting stories of war, colonialism, slavery and expulsion on three continents, the 1621 conquest of the Banda Islands deserves a central place in collective memory. Commemorating the conquest at 400 is of special significance in the Netherlands. While statues, public buildings, tunnels, squares and street names in the Netherlands still carry the name of Jan Pieterszoon Coen, the Bandanese people who were affected by Coen’s actions remain faceless. The working group “Banda 2021” will contribute to changing this historic imbalance through scientific gatherings, public exhibitions and art. It actively connects partners working in the Netherlands, the United States, Indonesia and most importantly on the Banda Islands itself, to further cultural and knowledge-exchange across regional divides.
Nancy Jouwe is a cultural historian and has worked 20+ years in the NGO sector as a managing director and curator on the crossroads of women’s rights, transnational movements, and art, culture and heritage. As a researcher, curator & projectmanager she focuses on cultural & social movements in postcolonial Netherlands and lectures at the Willem de Kooning Academy, Amsterdam University College and CIEE.
Wim Manuhutu (born Vught, the Netherlands, 1959) is a historian, specialized in the modern history of Indonesia. Between 1987 and 2008 he was a member of the board of directors of the Moluccan Historical Museum in Utrecht, focusing on exhibitions, events, and research. He published a number of articles on Moluccan history in both magazines and books.
Since 2009 Wim Manuhutu is the owner/director of Manu2u, a company that organizes cultural projects and events in with various different partners. He is active as a consultant, guest speaker and moderator. He is a guest lecturer at the Amsterdam University College and is working on a PhD thesis on the cultural links between the Netherlands and two of its former colonies, Suriname and Indonesia.
Pepijn Brandon is a Dutch historian whose work focuses on the interconnected themes of war, capitalist development and slavery. After defending his dissertation at the University of Amsterdam in 2013, Brandon worked as a postdoctoral scholar in the Netherlands (VU Amsterdam and IISH) and the United States (University of Pittsburgh). He currently works as Assistant Professor in social and economic history at the VU Amsterdam and as senior researcher at the International Institute of Social History. He is the author of the prize-winning monograph War, Capital, and the Dutch State, 1588-1795(Leiden / Boston: Brill, 2015; paperback: Haymarket Books, 2017). He is a member of the editorial board of the International Review of Social History, and acted as guest editor for special issues of several journals, including the The Financial History Review and Business History. During the spring semester of 2020, Brandon will be the Erasmus Lecturer on the History and Civilization of the Netherlands and Flanders at Harvard.
Merve Tosun (1993) is a historian specialized in colonial history with a focus on ‘Dutch Asia’. She wrote her thesis at Leiden University on the practice of legal pluralism in Batavia (Jakarta) and has contributed to projects at the intersection of enslavement, slave trade, diversity and colonial (legal) administration in South- and Southeast Asia.
As Junior Researcher at the International Institute for Social History, she currently maps (the interrelation of) social strategies employed by subaltern groups connected to labour obligations in Dutch Ceylon (Sri Lanka) as part of the project Between local debts and global markets: Explaining slavery in South- and Southeast Asia.
Matthias van Rossum (1984) is Senior Researcher at the International Institute of Social History (IISH) in Amsterdam. He specializes in global labour historyand has published on the history of maritime labour, convicts, slavery, and slave trade, as well as labour conflicts and resistance. He currently studies the history of slavery and slave trade in early modern (Dutch) Asia.
Joëlla van Donkersgoed is a Ph.D candidate in program for Cultural Heritage and Preservation Studies (CHAPS) at the department of Art History of Rutgers University. Her dissertation research focuses on the contemporary heritage interpretations by the local community of the Banda Islands in Indonesia. She is also engaged in the multiple projects that are aimed to increase heritage awareness for a domestic and international public, through the restoration activities of Dutch colonial architecture as well as the efforts to enlist the Banda Islands as a UNESCO World Heritage site.
Beatrice Glow is an interdisciplinary artist and multisensory storyteller. She has been named a 2018-19 Smithsonian Artist Research Fellow, 2018-19 Smack Mellon Studio Program Artist, 2017 American Arts Incubator Artist, 2016-17 Asian/Pacific/American Institute at NYU Artist-in-Residence, 2015 Joan Mitchell Foundation Emerging Artist Finalist, 2015 Wave Hill Van Lier Fellow, 2013 Franklin Furnace Fund recipient and 2008 Fulbright Scholar. Notable activities include solo exhibitions at NYU Institute of Fine Arts and Museo Nacional de Bellas Artes de Chile; group shows at Honolulu Biennial 2017, Park Avenue Armory and Galeri Nasional Indonesia; and a Duke University Press' Cultural Politics Journal feature.
In <Decode> Artists Policing Data, artists respond to data in forms that move beyond graphs and charts. They integrate it into their artwork in provoking and sensorial ways. This process demonstrates how data is gathered and converted into new patterns that they use to understand and interpret the world. When the goal of data collection is for personal use, it offers a rich pool of possibilities for making new connections.
In 2016 I was interviewed by Sarah Halford, Research Fellow at the Center for Artistic Activism. Some snippets of our conversation are now included in the “Episode 2: Audience” of the “Creative Resistance” special edition podcast mini-series. In this episode, I am featured alongside of art activists Avram Finkelstein, Mark Read and Rachel Brown of The Illuminator and Diana Arce.
Hear more here: https://c4aa.org/2018/11/creative-resistance-1-audience/#undefined
This week my video RHUNHATTAN: A Tale of Two Islands will be on view as part of New York University's Art Alumni Show curated by Chrissie Iles. My Migratory Museum of Taparaco Mythis still on view at the Elizabeth Foundation for the Arts as part of As Far as the Heart Can Seecurated by Nicolás Dumit Estévez Raful.
In November I will be in Empathy at Smack Mellon curated by Gabriel de Guzman with a one night event on November 29 showing Mannahatta VR and I will also be in <DECODE> Artists Policing Data at the Shiva Gallery at John Jay College curated by Jayanthi Moorthy and Daria Dorosh. Please see details below!
My new book, Aromerica Parfumeur will be printing soon. I am now accepting final pre-orders for the book launch! Come celebrate with us at Smack Mellon Open Studios on September 29, 2018, 12pm - 8pm and pick up your copy!
I´m pleased to share this short video capturing my experience leading American Arts Incubator - Ecuador this Spring! Big thanks to my videographer Luis Merinio Maldonado for all the hard work!
The White Street Studio is pleased to participate in Tribeca Art & Culture Night, a quarterly art festival, with an Open Studios special event to take place June 21, 2018 from 6 pm - 9 pm. For one night only, the artists will share with the public their creative process and new works. Participating artists include Regina Silvers, Edward Love, Erin Ko, Michael P. Jenkins, Andrew Tomasulo, Janine Shelffo and Beatrice Glow. Please RSVP at https://bit.ly/2sCfBu5.
This artist book is a continuation of Aromérica Parfumeur, artist Beatrice Glow’s 2016 exhibition realized at the Museo Nacional de Bellas Artes de Santiago de Chile's Sala Vespucio that staged a luxury perfume boutique in a commercial center to underline a parallel between how the social imaginary, systemic violence and smell are invisible yet omnipresent. Departing from the early-modern period when spices magnetized us as a species to traverse unknown waters and lands, the work mines the motivating force behind transnational networks of colonial conquests and commerce while framing aromatic desire as the unlikely foundations of Americas. The work traces patterns of exploitation, wealth inequality and environmental degradation via the social history of plants as a means to be in allyship with land-based cultural perspectives. This book comes with a hand-aromatized olfactory art work from the archives of eponymous exhibition.
Learn more here: https://bit.ly/2LKalfR
American Arts Incubator (AAI) is an international creative exchange program developed in partnership with the U.S. Department of State’s Bureau of Educational and Cultural Affairs and administered by ZERO1.
Beatrice Glow, one of their exchange artists, spent a month in Otavalo, Ecuador leading an American Arts Incubator exchange with a diverse group of community members, including Afro-Ecuadorian and Indigenous populations. The host partner organization was Casa de Artes Yarina that was based in Museo Otavalango. Together they used new media art to tell stories that shift dominant narratives — utilizing art and technology to address social inclusion.
”Arriving in Ecuador during the time of corn harvest, I was deeply impressed by the magnificent cornfields. I envision that was what parts of Manaháhtaan (precolonial Manhattan) used to look like. I also was delighted to learn that the companion-planting agricultural practice of the Three Sisters Garden (interplanting squash, corn and beans together to support each other) was also prevalent in Ecuador; another proof of shared knowledge across ancient Americas.”
New York-based, Silicon Valley-born, Beatrice Glow will participate in a 2018 Smithsonian Artist Research Fellowship, an innovative research-based artist residency program, at the Smithsonian Institution’s National Portrait Gallery and The National Numismatics Collections at the National Museum of American History.
American Arts Incubator — Ecuador visits Pakarinka Learning Center. Photo by L. Merinio Maldonado.
I am in Otavalo, Ecuador directing the American Arts Incubator - Ecuadorprogram where I taught a two week "Art, Community and Technology" workshop that addresses social inclusion through digital arts and am now coaching local community projects to reach their maximum impact. I will speak about the process next Monday April 16 at 6:30 pm at Arte Actual FLACSO as part of US Embassy Quito´s cultural program. I also share the experience in this blog. Here is a snippet:
"While I teach augmented reality workshops, I am also taking weaving classes in the old factory and getting an inkling of how contemporary machinery evolved from this ancient practice. Weaving is coding in binary motions, performing mathematical calculations, enacting geometry and executing precision. It is also about transmitting oral history, ancestral knowledge and following the movements of those who came before us in the social fabric." Read more here >>
My new young friends from the Colectivo Umama posing with my #workinprogress AR-activated portrait of Doña Mary